PREFACE ‘Haydn’s Trumpet Concerto Then and Now ‘During the last 30 years, Joseph Haydn's Trumy (No. Vite: 1 in Hoboken’s thematic catalogue of the com oser’s works) has become not ‘only the most important concerto for the trumpet, being required material in nearly every orchestral audition, but with over 20 recorded versions on long playing records is also the composer's best- known concerto, rivalled only by similar works by Vivaldi, Bach, Mozart, Tchaikovsky, and a few others. The facts about its origin are well known and need only to bbe summarized here!. The concerto was written in 1796 for ‘Anton Weidinger (1767-1852), who had been a trump in the Royal Imperial Theater since 17922, According to ony, Weidinger had started to develop keyed trumpet, which was referred to in contemporary sources as an “organized trumpet” (“organisirte Trompete”) as early 2s 17939, He did not present it to the public, how: ‘ver, until March 28, 1800, only then feeling he hed brought it "to what he believes may be described 2s per fection". On this occasion — a benefit concert only five days before Beethoven's first benefit concert — Weidinger also gave the world premiere perfarmance of the Haydn concerto, We know of no other performances of the work for over 100 years. A copy of the work Brussels conservatory, and from this the conservatory pupils played the concerto around 19075. Alphonse Goeyens, the trumpet professor there, published # piano reduetion in 19288, and two years later the full score appeared in Gormany?, impetus in restoring the work to the permanent Was not the printed edition, however, but an incomplete gramophone recording ~ only the last two movements were included — made in 1938-39 by George Eskdale on the English Columbia label, The first complete ‘recording of the work, played by Harry Mortimer, followed after the war on the same label. One of the undersigned (HCCRL) was privileged to participate in the preparation of 8 critical edition of the score for the first recording on Yong-playing records, made in 1950. The soloist was Helmut Wobisch, the conductor Anton Heiller. This recording, like ‘the previous two, was an astonishing bestaler (30.000 copies sold in four years); and from this time the Haydn con- certo was 2 favorite with trumpeters and public alike®. The First Pertormance of the Haydn Concerto in 1800 Before 1796, the trumpet was taden with symbolic os sociations related 10 its close links with aristocracy. ‘Trumpet fanfares can be regarded as the musical counter- part of a coat of arms. With the decline of the old social ‘Order during the second halt of the 18th century, the ‘wumpet gradually fell out of fashion as an obbligato or solo instrument and in the orchestra became relegated largely to @ fanfare function. Throughout its tong i lustrious history, the trumpet had been a “natural” in- srument confined to the notes of the harmonic series, Which permit scale passages only in the instrument's fourth octave — beginning one octave above middle c° (or eb, in the ease of transposing instruments in this key). When Weidinger developed an instrument capable of ‘chromaticism throughout its entice compass, he performed 2 revolutionary act, transforming the nature of his in- strument for all time®, (The invention of the valve around 1815 was but the final step towards cheomaticism for brass instruments, The reader is invited to imagine the atmosphere in the concert hall shortly after 7 p.m. on March 28, 1800, Weidinger having announced in an advertisement his in. tension of presenting “to the world for the first time, so ‘that it may be judged, an organized trumpet which he has invented and brought — after saven years of hard and ‘expensive labour ~ to what he believes may be described 125 perfection: it contains several keys and willbe displayed in & concerto specially written for this instrument by Herr Joseph Haydn, Doctor of Music, The orchestra members have taken their places and tuned up, the soloist enters to enthusiastic spplause, the audience quiets down, the orchestral introduction bogins. After only @ few bars the soloist lifts his instrument to his lips and plays his first note (bar 8): middle c' (sounding eb’), a mere minim propelling the first orchestral tutti into action, Nothing special, just a little warm-up. Then Weidinger plays again (bars 13-16); but these notes are nothing new: they lie in the clarino register, available to any natural brass in- strument. The audionce becomes uneasy, Weidinger's “organ ized trumpat” seems to be nothing special at all: and such lunrest prevails until the soloist cases his instrument for 2 third time, The amazement which followed the solo ‘entry in bar 37 must have been complete, on hearing the trumpet play an entire diatonic seale in its fow register, where a natural trumpet is capable of producing only & dominant seventh arpeggio. Haydn artfully devised the Frincipal theme of the first movement to show off this very fact: of the first three notes, cd! 99, the first and third are in the harmonic series, the second being a keyed note. In bar 39, a° and b’ — alto ‘outside the harmonic series — are heatd. In bar 47, the chromatic notes bb’ and ab’ follow. ‘The concert audience must have been dumbfounded at hearing such novelties from an instrument so. severely limited up to then, and although no review has survived from that evening, we do have 2 review form 2 concert Weidinger gave in Leipzig in December, 1802. From it we learn that he must have been a virtuoso at the height of his, il, and that he not only was able to play keyed and nonkeyed notes evenly and convincingly, but also pet formed with great sensitivity, his tone being similar to that of @ clarine“The Imperial Royal Court Trumpeter, Mr. Weidinger, of ‘Viena, gave us the opportunity of judging for ourselves his Significant invention ‘concerning. the perfection of the TTumpet and atthe ame time of admiring his masterly playing. i 1 completely founded in foct that Mr. W. any "conearane with al the hatones ving within the compass of his instrument, end {0 auch an extent that he plays running pasages through them. Furthermore, the fear that we uttered (on the Occasion of the first report concerning this invention, tht thi instrument might thee: by have lost something of is pompous character, has been completly refuted by {Weidinger’] public demonstrations, ‘The insteument sil! possesses its ful, penetrating tone, whichis at the same time 40 gentle and delicate that not vena clarinet ieapable of playing more mellowly Unfortunately, the revolutionary characteristics of Haydn's ‘Teumpet Concerto so apparent at that time are totally lost ‘on madern audiences s0 used to hearing the modern valved trumpet. The modern instrument can truly be said to pro- duce all the chromatic notes with perfect evenness, whereas the slight gradations of colour brought about on a keyed instrument by the opening of various vent-holes can no longer be properly appreciated. One of the undersigned (EHT) has made extensive experiments with original keyed trumpets and their reconstruction, and can report that the ference in tone colour between keyed and natural notes is by no means so great as one might imagine, but instead an be utilized by @ true artist to bring about @ much greater variety of tone than a valve instrument is capable of. ‘The effect is similar to that produced on a horn by hand: stopping (an “imperfection” which did not hinder Mozart from writing four concertos, or Beethoven from writing sonata, for hand horn), or on a Baroque or Classical flute by forked fingerings. The presence of more or fewer keyed fotes (on the keyed trumpet) or forked fingerings (on a Baroque flute) will, of course, give a more precise “feeling” for particular tonalities and chromatic modulations. For ‘example, the tone colour of the second movement of the Haydn concerto is determined by the fact that the very first note, f* (sounding ab’) is @ keyed note, and the audacious modulation to Ch (bars 21, with the pickup, ‘through 26) calls for 19 out of 26 notes to be played with ‘an open key — as opposed to the passage-work in the first ‘and last movements, most of thes tones being in the clarino register and thus lying within the harmonic ser ‘So much for the nature of Weidinger’s amazing instrument {and the no les amazing concerto Haydn wrote for it, Let us look briefly at a few sections of the work with regard to some aspects of editorial technique and modern performance, Remarks on the Present Ealition The only surviving source for the Trumpet Concerto is Haydn's autograph manuscript, now in the library of the Gesellschaft der Musiktreunde in Vienna, In view of the wildly differing readings of many important passages of this concerto both in modern editions and in recordings! the critical edition offered here is long overdue'S, The following ‘commentary is intended to cast light on a number of aspects Of the work from the point of view of performance practice, particular regard to the technical possibilities of the ‘original solo instrument, the keyed trumpet. At the outsat it must be ssid that although Haydn wrote ‘the manuscript with great care, as far as the notes them: selves are concerned, making only one mistake in notation 4, he proceeded very hastily when he added bowing and slur marks. One can not always be sure about the beginning and ending of such markings, even when parallel passages are collated. Even the undersigned, with their more than 50 year's collective experience with this one work, admit to frequent frustration, faced with the task of presenting to the world with what is supposed to be the definitive reading of this masterpiece — simply an impossible task, We have tried to preserve Haydn's notational peculiarities, in particular his articulation marks, a faithfully as possible, using broken lines to amend them into some semblance of unity to facilitate modern performance, (A glance at the score will show the reader how inconsistent Haydn's notation was. See for example the orchestral accompaniment to a thricerecurring three-bar passage in the first movement, starting in bars 20, 73, and 187 respectively) {In addition, the following specific points are to be noticed: 1. As stated above, we have tried to indicate the length of Haydn's original bowing and slur marks as found in the autograph manuscript, unifying them in simultaneously sounding parts by using broken lines. (However, in the piano reduction only solid lines were used. Only the score and the solo part represent a “critical edition”) 2. The five-note passage in the flute in bar 4, and in the first violin in bar 6 (later: tte in bar 40, solo trumpet in bar 41), poses editorial problems. Is the quaver pickup intended to be slurred to the following four quavers, or is it detached? In bars 4, 5, 40, and 41 the slur mark seems to start after the pickup note, but in bars 128 and 129 it definitely includes the pickup. Only in the middle section (ars 96 and 98) is it clearly detached first violin part, Haydn is clearly inconsistent here, A related fiv-note ‘motif isin bars 9 and 11 (first violin part). Here the pickup rote is quite carefully and unequivocally slurred 10 the following four. On the basis of this information, we have indicated the slur or bowing mark (in broken lines) in al ‘but bars 96 100 to include all five notes, but performers re encouraged to disagree with our solution. 3 I would have been possible to have added an editorial slur mark over the five notes on the first half of bar 42 (solo trumpet part), analogous to bars 6 (first violin part) ‘and 130 (solo trumpet part). However, one of the unde: signed's (EHT) experience with keyed trumpets suggests that in many slurred passages, the performer may have used @ kind of soft tonguing, much asa trombonist does insured passages, 10 give precision to the way in which the in dividual notes are expected to “speak""®, (See also § 6 below.)4. The editors are grateful to Leonard Cecil and Poul Plunkett for having examined the original manuscript care fully in 1978 with regard to the trill mark found in our ‘edition over the second note in ber 136 (solo trumpet part Even in the excellent photocopy made available to us by ‘the publisher, this matk could have been a fly speck: but ‘examination and transcription onto transparent paper of all other till marks in this concerto shows that this sign, 2 trill mark, It does occur at logical place, besides. 5, We offer three cadenzas for the first movement, and one fot the last, as possible examples for performers ~ who are hereby encouraged to go further and write their own. ‘Those interested in teeing the original version of Helmut ‘Wobisch’s 1950 cadenza, which he revised slightly for his ‘wo gramophone recordings, can find it on p. 233 of the ‘fourth volume of HCRL's Haydn biography. 16. Many performers sur the demisemiquavers in the second movement (solo part, bar 14 at.).We feel that such sections fin the tradition of Baroque passagework which was never slurred, and that Haydn did not err by not including slur marks here, The same situation applies to the rapid passage-work in the first movement, bars 107, and 1521. ‘and in several placs in the last movement. Notes 1 For more datas, ss Reine Deblgvin, The Keyed Trumoet and Tis Greatest Virwowe, Anton Weidinger (Nathwile, The Bross Prem, 1978 / Bree Rewarch Series, No.1), and H.C. Robbins London, Haya the Yours of The Creation’ 1786-1800 (London, ‘Thames and Hushon, 1977), henceforth quoted a and "Robbins Landon’ 2.61 Oanlavie, 10. 3 C1 Robbins Landon, 227-228. 444 Robbins Landon, oe elt C1 Dahlgist, 20, The Viennez trumparer Paul Handke made 9 ‘ooy of the turnpet part in 1609 prior to leaving forthe Now ‘rls, tn 1901-03 he was fest wumpeter of the Philedephis ‘Orchestre, and from 1903 to 1912 was frst trumpeter of the ‘Ghigo Symphony Orchestra stcond inthe 1907-08 saxon) enold Shika, Music Products published facsimile of his manuscript of the Haydn 110 pert in the 1960's. 1 int tntiely tree of copying ears. 6 Brunet, Ch. Walp. 7 itd by Wala, AtfaVerag Bertin "Dahlin £8 For more information on these recordings, ste Dahlavist. 20, tnd Robbine Landon, 233 and 738 +240. 7. By contrast, the quavers in bar (First violin part), bar 16 (Golo trumpet part), and parallel sections of the second ‘movement, are not intended to be executed as detached, as fone hears 20 often; Haydn's slur mark over the first three notes is unequivocal. 8, The cadenza in the thied movement isin bar 124. There is no second cadenza shortly before the end of the move ‘ment (bars 280 - 281), although one is often performed here. In the second instance Haydn did not write a termata sign — the identification mark of a cadenza at that time but wrote out clearly a tworbar grand pause, with in- dividual bar lines in all the parts and individual rests in three of the parts (fist and second violin, solo trumpet We thank the publishers for going to the trouble of in cluding two solo parts, for Eb and Bb trumpets, to facilitate performance, and are indebted to Karl Heinz Fis! for pre paring the piano score with a chamber-musie ideal in mind. Particular thanks go to Jaap Schroder for assisting us with ‘ur interpretation of the bowing marks (April 1981). EWT H.C. Robbins Landon 9 Weidinger was, of course, not the fst 10 develop # trumpet faith keys, Cf Dahlgvist for other experiments going beck fo 2. 1770. 10 Robbins Landon, 227-228. 11 Danis, 14-15. 12 Ct Fred Wiener, “The Hoydn Trumpet Concerta: 1796-1996" ‘Bras Bulltin 35 (3981), 30°40 and 36 (19811, 94-41 (to be continue. 13 In 1961, Hons Ferdinand Redticn made an attempt at» crite! lcdition (Eulerburg pocket sore, No, 738). but his version hat more than the vss! umber of mistakes. 14.11, bars 25 +26, trumpet part: se8 sor, 15 This experience is cortoborated by independent observations tmade by two peformarr who hgv actually payed this concerto tn pubke on « keyed trumpet. Ake Ost and Bjarne Vole We do tot agtee mith Donald Bullock’ articulations prsinted in hit Gricle, "Anielotions for the Hoydn Trumpet Concet Journal of the International Trumpet Guild, Vol. 4 (Octobe! 971, 26-28. Bullock, in ovr opinion, derives the sar marks in the keyed trumpet too much from Bowing marks in the won ports ond doer not fake the nature of the Keved trumpet intoClarino in Mib CONCERTO Hob: Vile,1 , hH 965 Joseph Novdn Allegro H.C.Robbins Landon) © Conuricht 1087 hu | nivereal Fditinn AC WienBS be “7 4 ‘Andante feantabile] HMP 2232FINALE Allegro aa 2 Py (aagacal @ 86 156 HMP 2232238 ® « 292 P Lerese] a eresc.] vowsia: Getter (there Lat) od (carter reading) HMP 2232I, Satz/1S* movement (Helmut Wobisch) tunga P crese.edaccl, 2 2 lunge rit, - te fe OP crese. f (© Copyraht 1982 by Universal Edition AG. Wien IIL. Satz/3"4 movement (Marius Flothuis, Edward H. Tarr) a Je ossia: Vie “DE {© Copyright 1982.y Univeral Edition A.G., Wien HMP 2232Clarino in Mib Haydn: Trompetenkonzert, Kadenzen Haydn: Trumpet Concerto, Cadencas I, Satz/1st movement (Marius Flothuis 1975) a _—.. {© Copyright 1982 by Universal Edition A. Wien I, Satz/1$* movement (Edward H. Tarr 1963/82) marciale e pitt mosso meno mosso sere psubio =CONCERTO Hob: Vile,1 Joseph Haydn 796 (Goward H Tar, I H.C Robbins Landon) Clarino Pianoforte: © Copyright 1982 by Universal Edition A.G,, Wien Haydn Mozart Presse HMP 223HMP 22368 Nis HMP 223HMP 223HMP 223HMP 223HMP 223MP 223Qanatie HMP 223HMP 223FINALE HMP 223HMP 223HMP 223HMP 2238B 7 1B Cxsensa— @ HMP 22319 HIMP 22320 HMP 223HMP 22322 voc polenta pening MP 223HMP 22324 250g 262 268 HMP 22328 HMP 223